7 Completely True Events The Movie Casino Is Based On

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Martin Scorsese's CASINO 1995 - Joe Pesci & Robert De Niro Really Nailed It Playing Some True Story Based Las Vegas Mobsters And Associates - Anthony Spilotro And Frank Rosenthal

Martin Scorsese's CASINO 1995 - Joe Pesci & Robert De Niro Really Nailed It Playing Some True Story Based Las Vegas Mobsters And Associates - Anthony Spilotro And Frank Rosenthal submitted by Miamidon23 to Mafia [link] [comments]

Martin Scorsese's CASINO 1995 - Joe Pesci & Robert De Niro Really Nailed It Playing Some True Story Based Las Vegas Mobsters And Associates - Anthony Spilotro And Frank Rosenthal

Martin Scorsese's CASINO 1995 - Joe Pesci & Robert De Niro Really Nailed It Playing Some True Story Based Las Vegas Mobsters And Associates - Anthony Spilotro And Frank Rosenthal submitted by StormSlackerSaturn to u/StormSlackerSaturn [link] [comments]

Goodfellas turns 30 this year! Here are 40 interesting pieces of fact and trivia about the classic mob movie

You can check out a video version of this here: https://www.youtube.com/watch?v=_OQkxioCNrw&t=3s
1 The first scene shot in the film was Morrie’s wig commercial, directed by Stephen R Pacca, who owned a window replacement company and directed and ran a similar ad in New York City that Scorsese was inspired by
2 When Jimmy is handing out money to everyone, Robert De Niro, ever the perfectionist, didn’t like how the fake money felt in is hands. He wanted real cash to be used, so the props master gave De Niro $5000 of his own money. No one was permitted to leave the set at the end of each take until the money was returned to the props man and counted.
3 Sticking with De Niro being a sticker for authenticity, according to the real-life Henry Hill, the protagonist of the movie, De Niro would phone him 7 or 8 times a day, wanting to discuss minute details of his character, even ow he would hold his cigarettes.
4 The classic Funny how scene is based on an occurrence which actually happened to Joe Pesci. When he was working in a restaurant years ago, he complimented a gangster by telling him he was funny, but the remark was met with a less than impressed response. Pesci told this to Scorsese, who implemented it into the film, and the scene was directed by Pesci himself and not included in the shooting script of the film, meaning his and Ray Liotta’s interactions would elicit genuine reactions from the supporting cast.
5 Henry Hill said that Joe Pesci’s portrayal of Tommy was 90 to 99% accurate. The only exception was that the real Tommy was a much larger and powerfully built man.
6 Veteran actor Al Pacino, who director Martin Scorsese wanted to work with for years and who he would later work with in The Irishman, was offered the role of Jimmy Conway. Pacino turned it down, for fear of being typecast as a gangster actor. He would go on to regret this decision.
7 Much has been made about real life mob involvement in the making of Goodfellas, from Robert De Niro attempting to contact the real-life Jimmy Burk, to Scorsese hiring background actors with real life mafia connections, such as Tony Sirico, who would later find fame playing Paulie Walnuts in The Sopranos. According to Nicholas Pileggi, author of the book Wiseuy upon which Goodfellas is based, there were several mobsters hired as extras in order to add authenticity to the film. They provided the studio with fake social security numbers, and as such it is unknown how they were paid.
8 Ray Liotta’s mother died whilst the movie was being filmed, and Liotta used his emotions over his mother’s death in his performance, most notably in the scene where he pistol whips another man.
9 When Joe Pesci’s mother saw the film, his real life mother, she liked it, but questioned her son if he had to swear so much. 5 years later in Casino Catherine Scorsese, who played Pesci’s mother in Goodfellas, complains to her son in Casino about swearing too much.
10 The painting of the two dogs and the man in the boat that Pesci’s mother in the film paints was actually painted by Nicholas Pileggi
11 The Lufthansa heist, which plays a major part of the movie, did not have its case solved and closed until 2014, and most of the surviving participants were arrested.
12 When Henry Kill is introducing mobsters to us in the bar, one of them is a character named Fat Andy. This character is played by Louis Eppolito, Eppolito was at the time a former NYPD detective whose father, uncle and cousin were in the mob. 15 years after the release of Goodfellas, Eppolito, along with his police partner, were arrested and charged with racketeering, obstruction of justice, extorsion, and up to 8 murders. They were both given life sentences, with an added 80 years each.
13 The F word and its derivatives are used 321 times in the film, at an average of 2.04 per minute, and almost half of them are said by Joe Pesci. At the time it was made, Goodfellas held the record for the most amount of profanity in a single film.
14 The scene where the three main characters eat with Tommy’s mother was almost completely improvised by the cast, including Tommy asking his mother if he could borrow a butcher’s knife and Jimmy’s remark about the animal’s hoof. Scorsese did not tell his mother tat Pesci’s character had just violently beaten a man, only that he was home for dinner and that she was to cook for them.
15 The real life Jimmy, along with Paulie whose death is mentioned in the film, also died in prison in 1996. He would have been eligible for parole in 2004.
16 Paul Sorvino wanted to drop out of the role as Paulie just three days before filming was schedule to start, as he felt he lack the cold personality to play the role correctly. After phoning his agent and asking him to release in from the film, his agent told him to think it over for a while. Later that night, Sorvino was practicing in the mirror and made a face that even frightened himself, and he was convinced that he would be able to play the role.
17 According to film legend, the real life Jimmy Burke was so trilled that Robert De Niro was playing him in the movie, that he phoned up De Niro from prison and gave him advice. This is something denied by Nicolas Pileggi
18 Even though Joe Pesci was in his fourties during the filming of Goodfellas, the real life inspiration for his character was in his 20 when the events of the film took place. Scorsese was initially concerned with Pesci being too old to play the role of Tommy, and Pesci sent him a video of him walking
19 Nicolas Pileggi spoke to Henry Hill throughout the script writing process, and he says much of the voice over narration in the film are almost exact quotes from Liotta himself
20 According to Debi Mazar, Henry Hill’s girlfriend in the film, when she trips after meeting Henry she actually tripped over the camera’s dolly track. Scorsese kept it in the film because it looked like her character was overwhelmed by Henry.
21 One of the daughters of Ray Liotta and Lorraine Bracco’s characters, the one too shy to give Paulie a kiss when he visits their home, is actually the daughter of Harvey Keitel, with whom Braco had the child.
22 In order to better get into character, when driving to and from the set Ray Liotta would often listen to tapes of interviews Pileggi had with the real Henry Hill. Liotta noted that Hill spoke casually of murders and other serious crimes whilst eating potato chips.
23 After seeing the film, Henry Hill thanked Liotta for not making him look like an asshole. Ray Liotta response was to think to himself “did you even watch the movie?”
24 The famous long take of the Copacabana took just 7 to 8 takes to get right
25 Henry Hill’s life after he went into the witness protection program was adapted into a movie released the same year as Goodfellas – called My Blue Heaven. Nicholas Pilei’s wife wrote the script for the film.
26 According to Scorsese, legendary actor Marlon Brando attempted to persuade him to not make the movie.
27 The real life Henry Hill was paid around half a million dollars for the movie.
28 Robert De Niro was offered the roles of both Jimmy and Tommy. He chose the former.
29 Despite it’s status as a classic, Goodfellas only won one Oscar. And its winner, Joe Pesci, was so surprised, that his winning speech was one of the shortest in Oscar history, simply saying, “it’s my privilege, thank you”
30 Frank Vincent, the man who plays Billy Batts and is beaten and stabbed to death by Joe Pesci, and who also starred with Pesci in two other Scorsese films – Ragin Bull and Casino - actually has a long history with Pesci. The two used to be bandmates and a comedy duo in the late 60s. They also starred in the low budget 1976 mafia film The Death Colelctor, where they were spotted by Robert De Niro and Martin Scorsese, and eventually hired for their roles in Raging Bull.
31 The producer’s original choices for the roles of Henry and Karen were Tom Cruise and Madonna.
32 Paul Sorvini improvised the slap that his character gives Henry in the scene where Paulie confronts Henry about drug dealing
33 In the original shooting script of the film, the Billy Batts shinebox scene was the very first scene in the film, followed by the dinner at Tommy’s mother’s house. Then Liotta would say the phrase “As far back as I can remember I always wanted to be a gangster” and the movie would show his youth and growing up.
34 Early screenings of Goodfellas were met with poor reception. According to Pileggi, one screening had around 70 people walk out, and in another the film’s team had to hide at a local bowling alley as a result of an audience angry at the film’s level of violence.
35 In spite of the film’s violent reputation, there are only 5 on screen deaths
36 When Spider is shot by Tommy, Michael Imperioli broke a glass in his hand and had to be rushed to hospital. But when he got there, the doctors attempted to treat his apparent gunshot wound. When the actor revealed what his real injury was, he was made to wait for 3 hours in the emergency room. Scorsese told Imperioli that he would tell this story one day on the tonight show with Jay Leno, a prediction which cam true in 2000.
37 US attorney Edward McDonald, the fed who explains the ins and outs of the witness protection programme to Henry Hill and his wife, is actually playing himself in this scene, re-enacting the conversation he had with the real Henry Hill. McDonald volunteered to play the role and won a screen test when Scorsese was location scouting his office as a possible filming location.
38 The movie ends with Henry in the witness protection program, but after the film’s release, as a result of violating his terms and conditions, including going around and telling people who he was, Henry Hill was thrown out of the programme.
39 Henry requests that he isn’t sent anywhere cold when g egos into the programme. In the ending of the film, he picks up a newspaper for Youngstown in Ohio, a place which has below freezing temperaturs in winter, suggesting that Henry’s wish was not granted.
40 The film’s ending, where Joe Pesci fires several bullets staring at the camera, is a homage to the landmark 1903 short film The Great Train Robbery, widely considered one of the first narrative pictures. Scorsese saw his movie as part of a tradition of outlaws in American pop culture and noted that, in spite of the fact tat the two films are separated by almost a century, according to the man himself, “they’re essentially the same story.”
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What's the history of your Hobby ? How did your biggest Hobby become your Hobby ?

As in : What was your moment when you noticed "Hey, this could really be awesome as a full-fledged hobby, this is something that I can have a lasting interest in ?
My main Hobbys are primary Movies, Film & Cinema, as well as Manga & Anime.
Fair Disclaimer : This is going to be way to long, I don't really expect anyone to read through all of it. More than anything I wrote that for myself, I just felt an itch that I needed to type that all out for once.
For me it was when I first watched Raiders of the Lost Ark (1981) and Die Hard (1988). I had watched them both within the same week for the first time.
But before I can talk about that, I have to go back a little further.
Up to this point I had only watched Disney Cartoons (Mickey Mouse, Donald Duck, Goofy), Disney Movies (pretty much ALL the animated Disney classics + some Pixar, I guess). Parallel to watching a lot of Disney stuff, I also read many many Disney Comics starring Mickey Mouse, Donald Duck, Goofy, Pluto and Many More (Here in Germany Disney Comics are pretty famous and well known).
And I watched A LOT of Anime (Shonen). And I mean a lot. My biggest Anime fandoms where no doubt Pokemon, Digimon, Dragon Ball, One Piece, Yu-Gi-Oh, Detective Conan and Inu Yasha. Of all these Animes, I had also read the Mangas. Later on, when I started to read more manga (including reading rough scanlations online) and watching anime subbed online, I got into Naruto, Shaman King, Hunter X Hunter, Bleach and Death Note. AND - what's important - even before I watched real movies I was pretty damn big on CLAMP X/1999, Cowboy Bebop, Hellsing, Gantz, Trigun and a couple more I don't recall (Speed Grapher, Trinity Blood ?) ... So more mature stuff was not unheard of to teenage me.
I also was a huge Nintendo Fan : Super Mario, Yoshi, Donkey Kong, Mario Kart, The Legend of Zelda, Metroid, Star Fox, Pokemon, Kirby, F-Zero, Super Smash Bros. - you name it, but this is a whole different story altogether. I only ever owned Nintendo videogame hardware though and I exclusively played major Nintendo IP's. Never had a PlayStation, never wanted one. Yeah, I guess you can say I had picked my side.
Anyway, back to films :
The only live action films I had watched up to that point were superhero comicbook adaptations (DC Comics & Marvel Comics). I still watch those to this day, and I like them well enough, but I always knew and always felt that thes were just adaptations of a much bigger comic-universe and that there was verd little intrinsicly cinematic about then. Of course, with the advent of the Jaggernaut that is the MCU that has changed to a certain degree.
It's kinda hard to say why I was so wild for the Donner / Reeves Superman films, the Burton / Keaton Batman films, and yes, also the Schoemaker films (I know, I know ...) or the Raimi / Maguire Spider-Man films ... I don't exactly know why. Funnily enough I never really got into the DC Comics and Marvel Comics, which are the source material to these films. And neither did I ever really get into their cartoon adaptations. I am not sure why, wrong place, wrong time I guess. Plus I was effectively preoccupied with Anime.
Anyway, I suppose I was daunted by the sheer amount of material. I was always a kid who liked order and oversight in and over his collection and hobby. I didn't understand the publication history, multiple concurrently running series featuring the same hero, story arcs being spread out over up to 4 or 5 series, crossover events with other heroes, never knowing which crossovers are actually important. Add to that the fact that each issue in germany combined like 2 or 3 us-american issues, sometimes combining issues of different series into one german issue running under the brand of the main hero it featured, which made it all even more confusing. I tried to get into american superhero comics multiple times, bought quite a few issues and even read a couple of stories I really liked. But it just never clicked.
Then there are of course collected editions if story arcs or certains character runs by singular authors and artists (called graphic novels), but then there are also One-Off Standalone / Spin-Off / Elseworld stories and graphic novels. And last but not least, there are these company wide major mega crossover events that tend to reset large chunks of the universes and characters continuity. Supposedly in order to create new entry points for new readers, but I don't know ... To me, that made it even more confusing. Besides, I like to get a full story of a character I like. I don't want to be told basically "yeah, you know kid, basically 80% of what we have published until now doesen't count anymore lol".
With manga you have a clear beginning, one series, weekly or monthly chapters, collected volumes (tankobons) and once it's finished a clear ending. Sure it can be long as hell (in the case of One Piece over 90 volumes already), but at least when you read or watch it all you have a complete story. I guess I just always preferred that. Maybe that's why I liked the early Comicbook film adaptations of DC Comics and Marvel Comics : As a way of simplification.
Now, there was a time when I only watched DC and Marvel adaptions out of principle, even though even back then I already knew that some of them where pretty fucking bad. I had a weird obsession with Batman Returns though, which I still have to this day. Probably has something to do with the fact that I was like 10 when I first watched it and really, really liked Michelle Pfeiffers Catwoman, if you know what I mean.
But then my interest in - for lack of a better term - "real" Films started to rear it's head. Films that where originally cinematic.
I had a phase where I was pretty obsessed with the Die Hard and Indiana Jones movies. They proved to be pretty damn good gateway blockbusters. Indiana Jones functioned as a gateway to Star Wars and that whole universe George Lucas had created. By the way : Yes, I watched Indiana Jones before Star Wars. The Indiana Jones films also served as a gateway to ALL the other Steven Spielberg films (the serious ones as well). I was shocked how many movies I had heard of but never cared for were actually Spielberg movies. The unbelievable range from "Jaws" to "Schindlers List" or from "E.T. theExtra-Terrestrial" to "Amistad" or "Minority Report" first made me realize how important the DIRECTOR is.
After that I had a phase where I wanted to be cool and prove to myself I am hardcore enough to watch A LOT of Horror. My idea of Horror though, back then at least, was limited to 90% slasher. So I obsessed over Halloween, Friday the 13th, Nightmare on Elm Street, Scream, The Texas Chainsaw Massacre, The Hills Have Eyes and pretty much all of Romeros Living Dead (Zombie) films. It was arround that time that first torture porn wave swept over the Horror landscape and I was pretty proud of myself watching Saw and Hostel and talking about them at school, even though I remember HATING them.
During the same time there was the Fantasy craze of the 00's and I got pretty involved with the Harry Potter and the The Lord of the Rings movies as well, but that always remained a secondary interest. I never read any of the books of either series, I have admit to ny great shame. It just wasen't the right time for me to read young fantasy or high fantasy novels. Even though I did like to read as a child and youngster. But when Harry Potter and The Lord of the Rings were all the rage I just was preoccupied with different interests, so it kinda fell through the cracks. I do however remember that I liked those films of Harry Potter that I had seen and most certainly all of the The Lord of the Rings films a great deal.
Anyway, after the Spielberg well ran dry I took advice from my friend who was a couple of years older than me. He was like you like Die Hard, well good for you since there's a whole world of 80s balls to the walls action flicks out there. Thusly, the door to Schwarznegger and James Cameron opened.
I probably don't have to tell you that The Terminator movies where my highlight (as well as Predator, which I was pleasantly surprised to learn had the same director as the first Die Hard). After I had seen Aliens, which I loved, I was shocked to find out it was a sequel. So I went back to the first. And so I discovered Ridley Scott. Funnily enough by means of arguably his worst film Alien 3 I learned about David Fincher, who remains one of my favourite director to this day. David Finchers two best works, by the way, are Zodiac and The Social Network, and not - albeit great - Seven and Fight Club, as many would have you believe. That is a fact and nobody will ever convince me otherwise.
Ridley Scott led to me discovering Blade Runner (the Final Cut on my first watch, thankfully) which, for some time, I was convinced was the final word in cinematic quality. I also developed an almost unhealthy obsession with the hard-boiled Michael Douglas starrer Black Rain. I guess it spoke to me because it was set in Japan and I was such a big anime fan.
Parallel to all this, roughly arround the time I started watching Cameron flicks, I also got balls deep into Quentin Tarantino. I remember I felt so smart and accomplished for having "discovered" Tarantino, I felt like a connoisseur of fine wine haha. What did I know he was mainstream. Well he wasn't for ME at the time. Needless to say, I loved all his films, even the slower paced Jackie Brown. Didn't like Death Proof so much, which was his newest release at the time. Naturally Tarantino led me to Robert Rodriguez, whose films I NEVER liked. Not even the ones generally considered good (From Dusk till Dawn, Sin City). For me he always felt like a pretentious poor mans Tarantino. Anyway, Quentin Tarantinos films taught me, for the very first time just how important a screenwriter and a good screenplay are.
After discovering hard SciFi with Ridley Scott and Christopher Nolan's The Prestige (who of course was on my radar because of Batman Begins and nothing else lol), I finally felt smart enough to tackle Stanley Kubrick who, as I had heard and read on multiple occasions, was supposed to be the best director of all time, or at least one of the very best. So I bought a BluRay set containing all of his films from Lolita all the way to Eyes Wide Shut. And while I am sure HE IS one of the best directors of all time ... for me ... NOPE. His aesthetics, his way of telling a story , everything ... simply not for me. Stanley Kubrick's kino and I would not become friends. Not gonna lie, that made me a little sad back in 2008 / 2009 I think, because I really wanted to like his work. I felt like I was supposed to.
But then I caught - totally by chance - Martin Scorseses Casino (1995) by aimlessly flipping through TV channels at night. It was the last 20 minutes of all things. I think I didn't skip to the next channel because I thought the verbal house fight between DeNiro and Sharon Stone was hilarious (Note : The only thing I knew Robert DeNiro from at this time was Jackie Brown).
Anyway, then came the montage of the whacking with House of the Rising Sun which culminated in the now infamous cornfield murder. It was so raw and brutal. There was no music. There was no style or choreography to the beating. It wasn't "cool". There was no heroic escape nor was there a daring hero swooping in to save the day (note that at this point I didn't know that the Joe Persci character was a despicable gangster in his own right). All of it ... it just felt like I was watching a real mafia killing. And I ... WAS ... HOOKED. I rented Casino the next day and watched the whole thing. Talked about it with the guy from the video store. So he gave my GoodFellas. Mean Streets. The Departed. Raging Bull. The Aviator. Taxi Driver. The King of Comedy. After Hours. Scorsese Scorsese Scorsese.
Now I gotta say I was never big on the crime genre, neither in movies nor television. So I probably would have never actively looked out for this movie. But I found it. And that's that.
While Spielberg made me love movies as a medium, Scorsese and DeNiro made me love the craft of actually directing a movie and the art of acting.
DeNiros filmography led me to the films of Francis Ford Coppola and Sergio Leone. And with these movies I realised why I didn't like Kubrick. While Kubrick was cold and sterile, albeit highly intelligent, Coppolas and Leones movies where more character driven, driven by plot, story and acting performances ... and in general simply "warmer", if that makes any sense. They just felt like their was more blood and life and passion to them, compared to all of Kubricks work.
I first got into The Godfather movies and The Dollars trilogy of course, but over time I came to appreciate, in some cases even love, the smaller, quirkier, more unknown movies of these directiors like The Conversation (a film that taught me the value and importance of sound-mixing), Rumble Fish (my first glance into surrealism / expressionism) or Duck, You Sucker ! which was the first movie that I watched that got a message through to me about genuine class struggle and the futility of revolutions though history. Apocalypse Now made me realize and think about for the first time in my life what philosophy is all about. Once Upon a Time in the West made me understand why people like the opera. Something I never understood prior to watching this movie. When I was watching Once Upon a Time in the West for the third or fourth time it finally struck me, that, by all means, I was watching (and enjoying !) what was essentially an opera on film. And finally, Once Upon a Time in America, which I first saw at the age of 24 or 25, for the first time in my life made me think about topics such as true lasting friendships, the passing of time, missed opportunities, my own inevitable mortality, one-sided love and bitter regrets.
And so films, my primary hobby as of today, HAVE definitely had a big influence on how I look at the world, who I am and how I think about certain things. And for that, I will be forever grateful.
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Uncut Gems wins 7th "most swears"

Just finished watching it and boy is it over used! But it made me think and look it up and here is the top 10 most profain movies with a swear count
1 Swearnet: The Movie - 935 - A trailer park boys movie about swearing and internet censorship
2 Fuck - 857 -A Documentary on the word, reigning record champ for 10 years before the above came out
3 The Wolf On Wall Street - 569 - Corruption and Downfall in a Net York stockbrokers life, staring our boy Leo
4 Summer Of Sam - 435 - David Burkowitz is the serial murderer in the Bronx and what some neighborhood folk have to say about it
5 Nil of Mouth - 428 - An abusive father, his Wife and kids, and a drug addict brother in law living in South East london
6 Casino - 422 - Robert De Niro is given a bunch of money and set loose in a casino, and hopes he doesn't get lost
7 Uncut Gems - 408 - Honestly pretty odd and good would recommend to watch it right now before it ages weirdly (like Adam Sandler)
8 Straight Outta Compton - 392 - The rise and fall of N.W.A staring Ice Cubes son
9 Alpha Dog - 367 - Sundance Crime Drama based around a true story kidnapping of Nicole Markowitz with some big 2006 names
10 End of Watch - 326 - Los Angeles Police are back at it making friends and living a wholesome police life and maybe a donut.
Just realized this is like a dumb listcle pls don't tell watchmojo, but I found this genuinely intersting so I'm not gonna delete it now
submitted by bananphone to flicks [link] [comments]

How does one describe Brian De Palma?

How does one describe Brian De Palma?

De Palma
How does one describe Brian De Palma? Many have accused him of being a misogynist for his films’ violent behavior towards women in thrillers such as Blow Out or Dressed to Kill. Others have commented that De Palma is just a knock-off of Hollywood legend Alfred Hitchcock, as De Palma uses similar formal techniques and even story ideas from classics like Rear Window or Psycho. Though many of De Palma’s movies have become significant within pop culture, most have nevertheless generated controversy for their recurrent use of graphic violence, themes of obsession, and voyeurism. Even if these criticisms of De Palma were entirely true, there’s no denying that his talent as a director or his widespread influence on other filmmakers. Indeed, Brian De Palma has proven again and again over his decades-long career to be one of cinema’s finest provocateurs, fascinated with how people can manipulate images and how those images can, in turn, affect others.
From the beginning of his filmography, De Palma has shown a fierce fascination with cinema and the art of creating images. His first feature in 1968, Murder a la Mod, features a young amateur filmmaker who shoots a cheap pornographic movie to make quick money. De Palma’s formal style itself shows the director’s love for the image; most of his films feature carefully choreographed long shots, split-screens of two separate places, and split-diopter shots that close in on an object or person in the foreground while also maintaining focus on something else in the background. Even De Palma’s recently released thriller Domino, despite a severely cut-down narrative, contains a shocking split-screen sequence that examines how recorded images of violence can easily spread online and thus turn into propaganda
De Palma’s earliest films were low-budget features shot in or around New York City. Three of these starred a young Robert De Niro, who was also beginning to make a name for himself in the film industry. The last and most famous of these early collaborations, Hi, Mom! (1970), was a dark comedy that introduced the themes of voyeurism and images that would become staples of De Palma’s later filmography. De Niro stars as Jon Rubin, a young man returning from Vietnam who has an idea to put a camera outside his window and film people in apartments across the street. Rubin at first gets financial help from an adult film producer and shoots footage of a middle-class family, a rich young playboy, and a college student involved with a black radical group. Rubin even decides to “create” films himself; he seduces a young woman in one of the apartments he spies on and has sex with her in her apartment after setting his camera to start recording after a certain time. Through Rubin, we see not only De Palma’s fascination with vouyerism (there are long sequences of each apartment and its inhabitants, some shots sped up for humor) but also with cinema itself. The girl Rubin dates and seduces on-camera is unaware she’s an actress in a film, showing how much deception inherently goes into making cinema.
The most famous scene of Hi, Mom! occurs after Rubin is fired. Desperately looking for easy money, he gets hired by the black radical group to play a part in a experimental theatrical performance, Be Black, Baby. Shot entirely on 16mm film, the sequence involves several wealthy white audience members going to the production set in an empty apartment building. The black actors running the show make the white people eat soul food and paint their faces black while they don whiteface. From there, the white audience members are terrorized and chased from room to room by the actors as an attempt for the white patrons to understand the “black experience.” Rubin plays a policeman who comes in at the end of the performance to further scare the audience before chasing them out of the building. At the end, the stunned white audience praises the show; the black actors are disappointed and one sourly remarks, “I don’t think they learned a thing.” Though the extended scene is also a hilarious satire of the New York underground theater movement, it also serves as another example of cinema as manipulation. Because of the intense performances by the black actors and Rubin, the white patrons are deceived into thinking they are in serious danger and forget that they are part of a performance until they are let free and given time to calm down.
After a string of successes in the 1970s including Phantom of the Paradise and Carrie, De Palma made several studio films in the 1980s, some highly commercial (Scarface, The Untouchables) and some were more personal psychological thrillers. Body Double, made immediately after Scarface was negatively received by critics and gained controversy for its graphic violence, was released as a bitter response to Hollywood animosity and was a twisted homage to Hitchcock’s Rear Window and Vertigo. After he catches his girlfriend cheating on him, unemployed actor Jake Scully (Craig Wasson) decides to house-sit for Sam (Gregg Henry) for several days. At the house before leaving, Sam shows Scully a telescope where he watches a neighbor (Deborah Shelton) do a seductive dance alone every night. Scully quickly becomes fascinated with the neighbor and begins stalking her around Los Angeles during the day. One night, Scully watches the neighbor become brutally murdered by a mysterious, disfigured man; he later discovers that the woman he saw each night dancing was a porn actress, Holly Body (Melanie Griffith), hired by Sam to make sure Scully would watch every night. Sam — wearing a mask to look like the disfigured man — killed the real neighbor, his wife Gloria, and used Scully as the perfect alibi.
Body Double is one of De Palma’s most unnerving works, examining our relationship to cinema and how audiences expectations can subjectively affect the images they see. Sam chooses Scully to become an unknowing witness because he knows Scully has recently lost his girlfriend and is lonely. Indeed, Scully projects his sexual desires on to the dancing woman, even following Gloria around as she shops in a mall or walks to the beach. Scully’s voyeuristic act of watching through a telescope implicates us the viewers as well, as we too become an audience to Holly’s erotic dance. After Gloria’s murder, a distraught Scully watches a porn channel and sees Holly doing the same dance she did for him in the window. From here on, Scully transforms from a passive audience member into an active participant; he auditions for a music video with Holly and introduces himself to her as a porn producer as a way to get the truth out of her. The music video itself — set to Frankie Goes to Hollywood’s single “Relax” — is a film within a film — as Scully plays a man wandering through a strip club and eventually seduced by Holly. Both within and without Body Double, we clearly see how cinema and its imagery can manipulate us, yet there is still a part of us that allows us to get tricked and deceived every time.
One of De Palma’s last Hollywood-funded movies, Snake Eyes was given negative reviews from critics and audiences alike, but it remains an essential De Palma film. Detective Rick Santoro (Nicolas Cage) goes to an Atlantic City boxing match to help guard the Secretary of Defense alongside an old friend Kevin Dunne (Gary Sinise), now a U.S. Navy Commander. When the Secretary gets fatally shot, the arena closes down and Santoro searches for suspects who might have been involved in a larger conspiracy. Most of the film is shown through Rashomon-style flashbacks; Santoro hears stories from different people about where they were and what they were doing when the shooting took place. Yet, Santoro soon realizes some of the statements he’s been given contradicts others — the recollections of witness Julia (Carla Gugino) reveal that Dunne’s story was fabricated and that he was part of the plan to kill the Secretary.
Much of Snake Eyes revolves around the objectivity of the surveillance camera as opposed to the memories of individuals. The film opens on newsreel footage of a storm outside the match and moves from one television to another. Santoro is first seen standing next to a pay-per-view reporter shown on a television and then moves off of the television screen and on to our own. Santoro only believes Julia’s story when he sees footage of Dunne meeting with the shooter minutes before the Secretary’s death. De Palma seems to recognize that a camera recording by itself is unbiased, but those images can easily be changed or constructed to show or hide the truth. When Dunne erases the surveillance video, the camera moves to a different news screen where corrupt casino owner Gilbert Powell (John Heard) lies to reporters about how the Secretary of Defense was killed. The Secretary of Defense was killed because Julia, a military manufacturer analyst, told him that the results of a new missile guard system supported by Dunne and Powell were faked so he would approve its use. Here, one can see a significant change in De Palma’s examination of imagery. In Hi, Mom!, Rubin comically seduces a woman to create an adult film; Sam creates the image of Holly’s dance to get away with murder in Body Double. On the other hand, images are erased or manipulated by military officials and corporation executives for large profits in Snake Eyes. The institutional corruption discovered by Santoro is so vast and widespread that De Palma’s original ending to the film (the casino washing away entirely in the midst of the hurricane) makes much more sense.
De Palma’s filmography of the last 20 years has been mostly independently financed and hasn’t received the same distribution or success as his previous work. Domino is the best example; De Palma had trouble with producers during filming, and a 140-minute rough cut of the film got shortened to the 89-minute version being released this week. Yet, despite all these troubles, there are still sequences within Domino that demonstrate De Palma’s artistry just as much in Body Double or Snake Eyes. No other filmmaker has so thoroughly examined our relationship with cinema and how its artificiality can deceive us. Even in his late 70s, De Palma is still thinking about how images can be manipulated, and in turn, manipulate an idea more relevant than ever in a world filled with billions of cellphones and a limitless global network.
Brian De Palma: Obsessed with the Image By Ethan Cartwright
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15 Most Memorable Quotes From Goodfellas | ScreenRant

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Most people would say that the greatest gangster movie ever made is The Godfather, but a strong argument could be made instead for Martin Scorsese’s Goodfellas. It is certainly the more entertaining of the two, with its impeccable soundtrack, fast cuts, sense of humor, voiceover narration, and all-over-the-place narrative structure.
RELATED: Goodfellas: 10 Most Iconic Moments, Ranked
Also, it’s based on a true story. The life of Henry Hill actually happened. The Corleone family is entirely fictional. Goodfellas_’ adaptation of true events adds a whole new layer to both the comedy and tragedy of the story. With that in mind, here are the 10 Most Memorable Quotes From _Goodfellas.

Updated on May 28th, 2020 by Ben Sherlock:_Even with the critical acclaim met by The Irishman, Martin Scorsese’s Goodfellas remains one of his most popular films. A number of critics compared The Irishman to Goodfellas, but called it a more mature film. It has a slower pace, a more nihilistic tone, and a heavier focus on the immense guilt rattling around the heads of mobsters. With its rapid pacing, pitch-black humor, and Jules and Jim-inspired all-over-the-place editing, Goodfellas is endlessly rewatchable, so we’ve updated this list with a few more entries._15 I Like Going This Way…

“I like going this way. It’s better than waiting in line.”
The long tracking shot through the Copacabana found in _Goodfellas_ is one of the most iconic shots in the history of cinema. Henry skips the line, takes Karen into the club through the kitchen, and has a table brought out for them right in front of the stage. It’s easy to see why Karen was seduced by Henry’s lavish lifestyle.

14 You Wasted Eight F****** Aprons On This Guy

When a man with a gunshot wound collapses on the doorstep of Tuddy’s restaurant, Henry springs into action and starts plugging up the wound with aprons until the man makes it safely into the back of an ambulance.

For all intents and purposes, this makes him a hero. But Tuddy doesn’t see it that way; he just sees all the missing aprons. He says, _“You’re a real jerk. You wasted eight f*ckin’ aprons on this guy. I don’t know what the hell’s wrong with you. I gotta toughen this kid up.”_13 To Me, It Meant Being Somebody In A Neighborhood Full Of Nobodies

What makes Goodfellasarguably the best mob movie ever made is that it doesn’t just depict hitmen killing people for mafiosos and gangsters stealing cigarettes out of trucks. It also shows the seductive nature of the mafia lifestyle.
We understand exactly why Henry Hill wanted to be a gangster, and why that lifestyle seemed so appealing. When he was growing up, being a gangster seemed like “_being somebody in a neighborhood full of nobodies._”

12 F*** You, Pay Me

In voiceover, Henry explains what it’s like to have Paulie as a business partner: _“Any problems, he goes to Paulie. Trouble with a bill, he can go to Paulie. Trouble with the cops, deliveries, Tommy, he can call Paulie. But now, the guy’s gotta come up with Paulie’s money every week, no matter what. Business bad? Fck you, pay me. Oh, you had a fire? Fck you, pay me. Place got hit by lightning, huh? Fck you, pay me.”_11 You’d Be Late For Your Own F***** Funeral

Long before Pulp Fiction_would make him an icon, Samuel L. Jackson played a small role as Stacks Edwards in _Goodfellas. Instead of ditching the truck that they used in the Lufthansa heist like he was supposed to, Stacks got stoned.
So, Tommy goes over to his apartment and tells him to get dressed. But while he’s getting dressed, Tommy says, “_You’d be late for your own f*ckin’ funeral,_” and shoots him in the back of the head.

10 They even shot Tommy in the face…

They even shot Tommy in the face, so his mother couldn’t give him an open coffin at the funeral.

Perhaps the most awful moment in the whole of Goodfellas_is when Tommy heads to what he thinks is the ceremony in which he’ll be made and gets killed. As Henry explains the whole thing, we get a haunting look and how strictly the mafia stick to their rules: _“It was revenge for Billy Batts, _and a lot of other things. And there was nothing that we could do about it. Batts was a made man, and Tommy wasn’t. And we had to sit still and take it. It was among the Italians. It was real greaseball s**t. They even shot Tommy in the face, so his mother couldn’t give him an open coffin at the funeral.”_9 I got to admit the truth…

I got to admit the truth. It turned me on.

One of the smartest moves Martin Scorsese made with the writing and directing of _Goodfellas_was following Karen’s storyline as well as Henry’s. Not only does the movie explore the mentality of someone who ends up being a career criminal; it explores the mentality of someone who gets romantically involved with one. And Lorraine Bracco plays the character with so much gravitas and humanity. Our first glimpse into her psyche is a fascinating one: _“I know there are women, like my best friends, who would have gotten out of there the minute their boyfriend gave them a gun to hide. But I didn’t. I got to admit the truth. It turned me on.”_8 I’m an average nobody…

I’m an average nobody. I get to live the rest of my life like a schnook.
At the end of Goodfellas, it might seem as though Henry gets off easy by selling out all his friends to the FBI and going into the Witness Protection Program. But as his final voiceover monologue points out, he’s left completely unfulfilled. He had everything he ever wanted and then lost it. Now, he has to live a mundane life in the suburbs like everybody else. Henry might have avoided jail by ratting out all of his friends – something he was told since his childhood never to do – but he feels just as trapped in his new life as if he had gone to jail.

7 I’m gonna go get the papers…

I’m gonna go get the papers, get the papers.

A commonality among the best crime stories is that they explore how criminals get their nicknames, and it’s usually something pretty trivial. For example, in the very first scene of the very first episode of The Wire, Jimmy McNulty launches into a monologue about how a kid was given a beautiful name by his mother and then one day, just because he forgot to grab a sweater on his way out and he ended up with a runny nose, he ended up with the lifelong nickname Snot. This was pioneered in Goodfellas, in which Henry Hill says, _“There was Jimmy Two Times, who got that nickname because he said everything twice.”_6 Hey, Tommy, if I was gonna break your balls…

Hey, Tommy, if I was gonna break your balls, I’d tell you to go home and get your shine box.
Joe Pesci’s character Tommy DeVito has a contentious relationship with pretty much everybody, but none more than Billy Batts. Billy knows that Tommy is a hothead and he likes to push his buttons. Tommy asks him politely, _“Just don’t go bustin’ my balls, Billy, okay?”_RELATED: Goodfellas: Every Major Performance, Ranked
And then Billy says, _“Hey, Tommy, if I was gonna break your balls, I’d tell you to go home and get your shine box. Now, this kid, this kid was great. They used to call him Spitshine Tommy. I swear to God! Now, he’d make your shoes look like f**kin’ mirrors. ‘Scuse my language.”_It’s a tense scene, since we’re just waiting for Tommy to erupt – and he does.

5 If we wanted something, we just took it

Part of what makes _Goodfellas_the quintessential mob movie is its exploration of the mob lifestyle and what leads people into organized crime in the first place. As Henry Hill explains in voiceover: _“For us to live any other way was nuts. Uh, to us, those goody-good people who worked sh**ty jobs for bum paychecks and took the subway to work every day and worried about their bills were dead. I mean, they were suckers. They had no balls. If we wanted something, we just took it. If anyone complained twice, they got hit so bad, believe me, they never complained again.”_4 Oh, I like this one…

Oh, I like this one. One dog goes one way, the other dog goes the other way.

One of Martin Scorsese’s directorial trademarks is putting his mother, Catherine Scorsese, in his movies. But she usually has a cameo role. Her biggest role is in Goodfellas, when she plays Tommy Devito’s mother. Tommy, Jimmy, and Henry go to visit her and have a bite to eat. It’s a long scene, at least in relation to this fast-paced movie, and the tension comes from the fact that there’s a guy bleeding out in the trunk of their car. The whole time, he’s in the back of our minds, while Tommy nonchalantly analyzes his mother’s new painting: _“Oh, I like this one. One dog goes one way, the other dog goes the other way, and this guy’s sayin’, ‘Whadda ya want from me?’”_3 Never rat on your friends…

Never rat on your friends and always keep your mouth shut.
Martin Scorsese wasn’t able to secure the funding for _Goodfellas_until Robert De Niro agreed to play the mobster Jimmy Conway in the film. He’s not the star of the movie, but he is an important figure in Henry Hill’s life. As a kid, Henry is arrested and doesn’t tell the cops anything, which makes the other mobsters proud.
RELATED: “As Far Back As I Can Remember…” 10 Behind-The-Scenes Facts About Goodfellas
Jimmy says, _“I’m not mad, I’m proud of you. You took your first pinch like a man and you learn two great things in your life. Look at me. Never rat on your friends and always keep your mouth shut.”_On repeat viewings, this scene acts as harrowing foreshadowing for the big finale.

2 What do you mean I’m funny?

Joe Pesci could’ve won his Academy Award for Best Supporting Actor on the basis of this scene alone. It’s one of the first scenes in the movie and establishes his dangerously unstable jokester character early one. Henry says, “You’re really funny!”_and his smile drops. “_What do you mean I’m funny?… _You mean the way I talk?”_Henry says, _“It’s just, you know, you’re just funny. It’s funny, the way you tell the story and everything.”_Pesci’s character Tommy DeVito says, _“Funny how? I mean, what’s funny about it?”_Eventually, it devolves and he’s shouting: _“I mean, funny like I’m a clown? I amuse you? I make you laugh, I’m here to f**kin’ amuse you?”_And then it turns out he was messing with him the whole time.

1 As far back as I can remember, I always wanted to be a gangster

This line from near the beginning of the movie is not just the best quote in Goodfellas; it might just be the single greatest quote in film history. Not only is it memorable and an exciting way to start the movie; its placement in the story speaks volumes. We’ve just seen these three guys sitting in silence, driving through the countryside, and then they open the trunk of the car to reveal a bloodied man. They stab him, shoot him, and bury him. Then Scorsese closes on Ray Liotta and, in voiceover as Tony Bennett’s “Rags to Riches” comes on the soundtrack, he says, “As far back as I can remember, I always wanted to be a gangster.” You really wanted this life? It opens the discussion of the mobster lifestyle that the whole film explores.
NEXT: 5 Reasons Martin Scorsese’s Casino Is Underrated (And 5 Why It’s Just A Goodfellas Rip-off)
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I watched Raging Bull (1980)

I'm seeing Robert De Niro in a new light. I only knew him as Goodfellas/Casino/Meet the Parents De Niro and he was pretty relaxed compared to the beast he is in Raging Bull. The scenes where he's hitting Joe Pesci and his wife(s) look almost too real. I can't wait to dive into trivia behind the movie. Each fight scene was done so unique, even the intimate scenes when he's first seducing Vicki were done so well. Robert De Niro definitely crushed the role but I feel like the last act of the movie was definitely the weaker part where he's a comedian. Was this based on a true story?
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Hitler Hunt for 4/14/2019

I found 57 Hitlers in Politics today.

Robert De Niro tears into Republicans: 'We're not going to forget' about what you did under Trump
Pete Buttigieg Officially Announces Run For President
Ocasio-Cortez backs boycott of the 'racist New York Post'
Twitter Urged To Suspend Donald Trump After President Accused Of ‘Sharing Propaganda Videos Trafficking In Hate Speech’ Over Omar Attack
$2,198,468,000,000: Federal Spending Hit 10-Year High Through March; Taxes Hit 5-Year Low
Ilhan Omar hits back after Trump triggers deluge of abuse: 'I did not run for Congress to be silent'
"Don't Give Hate a Platform": Facebook, Twitter Urged to Suspend Trump Following Attack on Ilhan Omar
Nancy Pelosi: Trump Is ‘Wrong’ to Use Edited 9/11 Footage in ‘Political Attack’
Nadler wants 'the boss of everybody' Stephen Miller to testify before Congress
Robert De Niro Wishes Jail Time For Trump
Trump Refuses to Renominate Obama's Pick for U.N. Committee on Racism, Won't Name Replacement
The Russians are screwing with the GPS system to send bogus navigation data to thousands of ships
Kamala Harris releases 15 years of tax returns, more than any other 2020 candidate
Dan Crenshaw has no response after AOC blasts him over his phony outrage.
Pelosi says she talked with Sergeant-at-Arms about Omar's safety following Trump tweet
WH: Trump Was ‘Making A Joke’ When He Cited Wikileaks Dozens Of Times In ’16
The country isn’t ‘full’ — and Trump knows it
Trump’s Fed Nominee Isn’t a ‘Big Believer in Democracy’
Buttigieg calls for 'a new American spring' in campaign launch
Noam Chomsky: America's Extraterritorial Reach Is Its Own Scandal
Pelosi Calls on Trump to Take Down 9/11 Video Attacking Rep. Ilhan Omar
Wounded SEAL Dan Crenshaw mocked by left as ‘captain shithead,' Nazi, 'eyeless f--k'
Sieg Heil! I mean... Beep Boop, I am a robot.
My purpose is to find and link comments in Politics that contain the word 'Hitler'
Since my birth, I have found a total of 37737 Hitlers in Politics. On average, I found 82 Hitlers per day.
Today, I read 33967 comments. In total, I have read 20904514 comments.
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All of the MPAA/CARA-rated films of 2006 (out of the 5,008 films released worldwide that year.)

G
  1. Bambi II (Director: Brian Pimental)
  2. Cars (Directors: John Lasseter + Joe Ranft)
  3. Charlotte’s Web (Director: Gary Winick)
  4. Comic Evangelist (Directors: Daniel Jones + Dann Sytsma)
  5. Curious George (Director: Matthew O’Callaghan)
  6. Doogal (Directors: Dave Borthwick, Jean Duval + Frank Passingham)
  7. Elephant Tales (Director: Mario Andreacchio)
  8. Epiphany: The Cycle Of Life (Director: Ali Hossaini)
  9. Everyone’s Heros (Directors: Colin Brady, Christopher Reeve + Dan St. Pierre)
  10. Franklin and the Turtle Lake Treasure (Director: Dominique Monfery)
  11. Modern Man (Director: Justin Swibel)
  12. Shark Bait (Director: Howard E. Baker, John Fox + Kyung Ho Lee)
  13. Stanley’s Dinosaur Round-Up (Director: Jeff Buckland)
  14. Strawberry Shortcake: The Sweet Dreams Movie (Director: Karen Hyden)
  15. The Gig (Director: Jason Leo Baguio)
  16. The Legend Of Sasquatch (Director: Thomas Calicoat)
  17. The Santa Clause 3: The Escape Clause (Director: Michael Lembeck)
  18. The Wild (Director: Steve “Spaz” Williams)
  19. Urmel aus dem Eis (Directors: Reinhard Klooss + Holger Tappe)
PG
  1. A Broken Sole (Director: Antony Marsellis)
  2. A Merry Little Christmas (Directors: John Dowling, Jr. + Karl Fink)
  3. A Sacred Proof (Director: Yehuda Freeman)
  4. Aimee Semple McPherson (Director: Richard Rossi)
  5. Akeelah + The Bee (Director: Doug Atchinson)
  6. Alex Rider: Operation Stormbreaker (Director: Geoffrey Sax)
  7. Always Will (Director: Michael Sammaciccia)
  8. Amazing Grace (Director: Michael Apted)
  9. Aquamarine (Director: Elizabeth Allen Rosenbaum)
  10. Arthur + The Invisibles (Director: Luc Besson)
  11. As You Like It (Director: Kenneth Branagh)
  12. Azur + Asmar: The Princes’ Quest (Director: Michel Ocelot)
  13. Barnyard (Director: Steve Oedekerk)
  14. Beautiful Dreamer (Director: Terri Farley-Teruel)
  15. Believe In Me (Director: Robert Collector)
  16. Bonneville (Director: Christopher N. Rowley)
  17. Brothers Two (Director: Jennifer Tadlock)
  18. Casi casi (Directors: Jaime Vallés + Tony Vallés)
  19. Christmas At Maxwell’s (Director: William C. Laufer)
  20. Church Ball (Director: Kurt Hale)
  21. Collier + Co. (Director: John Schneider)
  22. Conversations With God (Director: Stephen Deutsch)
  23. Crusade In Jeans (Director: Ben Sombogaart)
  24. Deck The Halls (Director: John Whitesell)
  25. Dog Lover’s Symphony (Director: Ted Fukuda)
  26. Eight Below (Director: Frank Marshall)
  27. Eragon (Director: Stefen Fangmeier)
  28. Everest E.R. (Directors: Brad McLain + Sean McLain)
  29. Faith Like Potatoes (Director: Regardt van den Bergh)
  30. Feliz Navidad (Director: Michael Baez)
  31. Fire Creek (Director: Jed Wells)
  32. Flicka (Director: Michael Mayer)
  33. Flushed Away (Directors: David Bowers + Sam Fell)
  34. Garfield II: A Tale Of Two Kitties (Director: Tim Hill)
  35. Glory Road (Director: James Gartner)
  36. Goose On The Loose (Goose!) Director: Nicholas Kendall)
  37. Guadalupe (Director: Santiago Parra)
  38. Happily N’Ever After (Directors: Paul Bolger, Yvette Kaplan + Greg Tiernan)
  39. Happy Feet (Directors: George Miller, Warren Coleman + Judy Morris)
  40. Hoot (Director: Wil Shriner)
  41. How To Eat Fried Worms (Director: Bob Dolman)
  42. How To Stoppie (Director: Drew Umland)
  43. I’ll Believe You (Director: Paul Francis Sullivan)
  44. Ice Age: The Meltdown (Director: Carlos Saldanha)
  45. Invincible (Director: Ericson Core)
  46. Love’s Abiding Joy (Director: Michael Landon, Jr.)
  47. M For Mother (Director: Rasool Mollagholi Poor)
  48. Material Girls (Director: Martha Coolidge)
  49. Milarepa (Director: Neten Chokling)
  50. Miss Potter (Director: Chris Noonan)
  51. Monster House (Director: Gil Kenan)
  52. My Bad Dad (Director: Mack Polhemus)
  53. Nacho Libre (Director: Jared Hess)
  54. Naming Number Two (Director: Toa Fraser)
  55. Night At The Museum (Director: Shawn Levy)
  56. Offside (Director: Jafar Panahi)
  57. One Night With The King (Director: Michael O. Sajbel)
  58. Opal Dream (Director: Peter Cattaneo)
  59. Open Season (Directors: Roger Allers, Jill Culton + Anthony Stacchi)
  60. Outlaw Trail: The Treasure of Butch Cassidy (Director: Ryan Little)
  61. Over The Hedge (Directors: Tim Johnson + Karey Kirkpatrick)
  62. Penelope (Director: Mark Palansky)
  63. RV (Director: Barry Sonnenfeld)
  64. Red Riding Hood (Director: Randal Kleiser)
  65. Return with Honor: A Missionary Homecoming (Director: Michael Amundsen)
  66. Reunion (Director: Sheila Norman)
  67. Robotech: The Shadow Chronicles (Directors: Dong-Wook Lee + Tommy Yune)
  68. Rocky Balboa (Director: Sylvester Stallone)
  69. Saving Shiloh (Director: Sandy Tung)
  70. Sea Of Dreams (Director: José Pepe Bojórquez)
  71. Secret Of The Cave (Director: Zach C. Gray)
  72. Spymate (Director: Robert Vince)
  73. Stalking Santa (Director: Greg Kiefer)
  74. The Ant Bully (Director: John A. Davis)
  75. The Blue Elephant (Directors: Kompin Kemgumnird + Tod Polson)
  76. The Celestine Prophecy (Director: Armand Mastroianni)
  77. The Genius Club (Director: Timothy A. Chey)
  78. The Lake House (Director: Alejandro Agresti)
  79. The Nativity Story (Director: Catherine Hardwick)
  80. The Pink Panther (Director: Shawn Levy)
  81. The Race Begins (Director: Edward Fu)
  82. The Shaggy Dog (Director: Brian Robbins)
  83. The Thief Lord (Director: Richard Claus)
  84. The Ultimate Gift (Director: Michael O. Sajbel)
  85. The Water’s Edge (Director: Robin Conly)
  86. The Work and the Glory III: A House Divided (Director: Sterling Van Wagenen)
  87. The Year My Parents Went on Vacation (Director: Cao Hamburger)
  88. Think Tank (Director: Brian Petersen)
  89. Unaccompanied Minors (Director: Paul Feig)
  90. Unidentified (Director: Rich Christiano)
  91. Vitus (Director: Fredi M. Murer)
  92. We Are Marshall (Director: McG)
  93. When I Find The Ocean (Director: Tonya S. Holly)
  94. Zoom (Director: Peter Hewitt)
PG-13
  1. 16 Blocks (Director: Richard Donner)
  2. A Good Year (Director: Ridley Scott)
  3. A Lobster Tale (Director: Adam Massey)
  4. A Prairie Home Companion (Director: Robert Altman)
  5. ATL (Director: Chris Robinson)
  6. Accepted (Director: Steve Pink)
  7. Al Qarem (Directors: Affandy Yacoob + Ajmal Yourish)
  8. Alien Autopsy (Director: Jonny Campbell)
  9. All You’ve Got (Director: Neema Barnette)
  10. All The King’s Men (Director: Steven Zaillian)
  11. American Dreamz (Director: Paul Weitz)
  12. Annapolis (Director: Justin Lin)
  13. Antonia (Director: Tata Amaral)
  14. Assphalt Assassins (Director: Brian Bourke)
  15. Avenue Montaigne (Director: Danièle Thompson)
  16. Away From Her (Director: Sarah Polley)
  17. Bacterium (Director: Brett Piper)
  18. Bandidas (Directors: Joachim Rønning + Espen Sandberg)
  19. Bella (Director: Alejandro Monteverde)
  20. Bienvenido paisano (Director: Rafael Villaseñor Kuri)
  21. Big Momma’s House II (Director: John Whitesell)
  22. Blind Dating (Director: James Keach)
  23. Blind Love (Director: Janghun Troy Choi)
  24. Bolly Double (Director: Petrichor Bharali)
  25. Broken Bridges (Director: Steven Goldmann)
  26. Broken Sky (Director: Julián Hernández)
  27. Canvas (Director: Joseph Greco)
  28. Casino Royale (Director: Martin Campbell)
  29. Catch A Fire (Director: Phillip Noyce)
  30. Catch + Release (Director: Susannah Grant)
  31. Chalk (Director: Mike Akel)
  32. Chocolate Rap (Director: Chi Y. Lee)
  33. Citizen Duane (Director: Michael Mabbott)
  34. Click (Director: Frank Coraci)
  35. Color Of The Cross (Director: Jean-Claude La Marre)
  36. Comeback Season (Director: Bruce McCulloch)
  37. Copying Beethoven (Director: Agnieszka Holland)
  38. Crossover (Director: Preston A. Whitmore II)
  39. DOA: Dead Or Alive (Director: Corey Yuen)
  40. Date Movie (Directors: Aaron Seltzer + Jason Friedberg)
  41. Déjà vu (Director: Tony Scott)
  42. Dirty Laundry (Director: Maurice Jamal)
  43. Disappearances (Director: Jay Craven)
  44. Domestic Import (Director: Kevin Connor)
  45. Dreamgirls (Director: Bill Condon)
  46. Driving Lessons (Director: Jeremy Brock)
  47. Ella At Five (Director: David Quinn)
  48. Employee Of The Month (Director: Greg Coolidge)
  49. Evil Behind You (Directors: Jim Carroll + Jason Kerr)
  50. Eye Of The Dolphin (Director: Michael D. Sellers)
  51. Facing The Giants (Director: Alex Kendrick)
  52. Failure To Launch (Director: Tom Dey)
  53. Falling For Grace (Director: Fay Ann Lee)
  54. Fearless (Director: Ronny Yu)
  55. Firewall (Director: Richard Loncraine)
  56. Flyboys (Director: Tony Bill)
  57. For Your Consideration (Director: Christopher Guest)
  58. Forget About It (Director: B.J. Davis)
  59. Golden Door (Director: Emanuele Crialese)
  60. Gray Matters (Director: Sue Kramer)
  61. Gridiron Gang (Director: Phil Joanou)
  62. Griffin + Phoenix (Director: Ed Stone)
  63. Heavens Fall (Director: Terry Green)
  64. Hookers, Inc. (Director: Tim Pingel)
  65. I’m Not Stupid Too (Director: Jack Neo)
  66. I’m Reed Fish (Director: Zackary Adler)
  67. Irish Jam (Director: John Eyres)
  68. It’s A Boy Girl Thing (Director: Nick Hurran)
  69. Jade Warrior (Director: Antti-Jussi Annila)
  70. John Tucker Must Die (Director: Betty Thomas)
  71. Judges (Director: Stephen Patrick Walker)
  72. Just Like The Son (Director: Morgan J. Freeman)
  73. Just My Luck (Director: Donald Petrie)
  74. Kalamazoo? (Director: David O’Malley)
  75. Keeping Up With The Steins (Director: Scott Marshall)
  76. Kenny (Director: Clayton Jacobson)
  77. Kokoda: 39th Battalion (Director: Alister Grierson)
  78. Lady In The Water (Director: M. Night Shyamalan)
  79. Lage Raho Munna Bhai (Director: Rajkumar Hirani)
  80. Larry The Cable Guy: Health Inspector (Director: Trent Cooper)
  81. Last Holiday (Director: Wayne Wang)
  82. Last Stop For Paul (Director: Neil Mandt)
  83. Little Man (Director: Keenen Ivory Wayans)
  84. Love + Debate (Director: Jessica Kavana Dornbusch)
  85. Love + Honour (Director: Yôji Yamada)
  86. Madea’s Family Reunion (Director: Tyler Perry)
  87. Man Of The Year (Director: Barry Levinson)
  88. Marie Antoinette (Director: Sofia Coppola)
  89. Midnight Clear (Director: Dallas Jenkins)
  90. Miriam (Director: Matt Cimber)
  91. Mission: Impossible III (Director: J.J. Abrams)
  92. Moonpie (Director: Drake Doremus)
  93. My Best Friend (Director: Patrice Leconte)
  94. My Brother (Director: Anthony Lover)
  95. My First Wedding (Director: Laurent Firode)
  96. My Super Ex-Girlfriend (Director: Ivan Reitman)
  97. Nihon chinbotsu (Director: Shinji Higuchi)
  98. Nina’s Heavenly Delights (Director: Pratibha Parmar)
  99. Offshore (Director: Diane Cheklich)
  100. One Last Dance (Director: Max Makowski)
  101. Outsourced (Director: John Jeffcoat)
  102. Passion + Brotherhood (Director: Drew Stone)
  103. Peaceful Warrior (Director: Victor Salva)
  104. Phat Girlz (Director: Nnegest Likké)
  105. Pirates Of Treasure Island (Director: Leigh Scott)
  106. Pirates Of The Caribbean: Dead Man’s Chest (Director: Gore Verbinski)
  107. Pirates Of The Great Salt Lake (Director: E.R. Nelson)
  108. Poseidon (Director: Wolfgang Petersen)
  109. Priceless (Director: Pierre Salvadori)
  110. Pulse (Director: Jim Sonzero)
  111. Raising Flagg (Director: Neal Miller)
  112. Relative Strangers (Director: Greg Glienna)
  113. Rescue Dawn (Director: Werner Herzog)
  114. Rounding Home (Director: Phillip Abatecola)
  115. Scary Movie IV (Director: David Zucker)
  116. School For Scoundrels (Director: Todd Phillips)
  117. Scoop (Director: Woody Allen)
  118. Sea Of Fear (Director: Andrew Schuth)
  119. Seth (Director: Corbin Timbrook)
  120. Seven Days Of Grace (Director: Don E. FauntLeRoy)
  121. She’s The Man (Director: Andy Fickman)
  122. Sixty Six (Director: Paul Weiland)
  123. Something New (Director: Sanaa Hamri)
  124. Starter For 10 (Director: Tom Vaughan)
  125. Stay Alive (Director: William Brent Bell)
  126. Step Up (Director: Anne Fletcher)
  127. Stick It (Director: Jessica Bendiger)
  128. Stranger Than Fiction (Director: Marc Forster)
  129. Street Wok’n (Director: Eric Matyas)
  130. Summer Sunshine (Director: David Kentwood)
  131. Superman Returns (Director: Bryan Singer)
  132. Take The Lead (Director: Liz Friedlander)
  133. Tales From Earthsea (Director: Gorô Miyazaki)
  134. Talladega Nights: The Ballad Of Ricky Bobby (Director: Adam McKay)
  135. The Benchwarmers (Director: Dennis Dugan)
  136. The Break-Up (Director: Peyton Reed)
  137. The Covenant (Director: Renny Harlin)
  138. The Da Vinci Code (Director: Ron Howard)
  139. The Devil Wears Prada (Director: David Frankel)
  140. The Ex (Director: Jesse Peretz)
  141. The Fast + The Furious: Tokyo Drift (Director: Justin Lin)
  142. The Final Inquiry (Director: Giulio Base)
  143. The Flying Scotsman (Director: Douglas Mackinnon)
  144. The Fountain (Director: Darren Aronofsky)
  145. The Foursome (Director: William Dear)
  146. The Garage (Director: Carl Thibault)
  147. The Grudge II (Director: Takashi Shimizu)
  148. The Guardian (Director: Andrew Davis)
  149. The Holiday (Director: Nancy Meyers)
  150. The Illusionist (Director: Neil Burger)
  151. The Lather Effect (Director: Sarah Kelly)
  152. The Little Things (Director: Stephen Padilla)
  153. The Lives Of The Saints (Directors: Chris Cottam + Rankin)
  154. The Marine (Director: John Bonito)
  155. The Namesake (Director: Mira Nair)
  156. The Novice (Director: Murray Robinson)
  157. The Painted Veil (Director: John Curran)
  158. The Prestige (Director: Christopher Nolan)
  159. The Pursuit Of Happyness (Director: Gabriele Muccino)
  160. The Queen (Director: Stephen Frears)
  161. The Return (Director: Asif Kapadia)
  162. The Sasquatch Gang (Director: Tim Skousen)
  163. The Second Chance (Director: Steve Taylor)
  164. The Sentinel (Director: Clark Johnson)
  165. The Surfer King (Director: Bernard Murray, Jr.)
  166. The Valet (Director: Francis Veber)
  167. The Visitation (Director: Robby Henson)
  168. The Wicker Man (Director: Neil LaBute)
  169. Thr3e (Director: Robby Henson)
  170. Tomorrow Is Today (Director: Frederic Lumiere)
  171. Tristan + Isolde (Director: Kevin Reynolds)
  172. Ultraviolet (Director: Kurt Wimmer)
  173. Unbeatable Harold (Director: Ari Palitz)
  174. Under The Sycamore Tree (Director: Shane Dean)
  175. Vigilantes (Director: Trevor L. Smith)
  176. Waltzing Anna (Directors: Doug Bollinger + Bx Giongrete)
  177. When The Stranger Calls (Director: Simon West)
  178. X-Men: The Last Stand (Director: Brett Ratner)
  179. You, Me + Dupree (Directors: Anthony Russo + Joe Russo)
  180. Zen Man (Director: Sang H. Kim)
R
  1. .45 (Director: Garry Lennon)
  2. 10 Items Or Less (Director: Brad Silberling)
  3. 10th + Wolf (Director: Robert Moresco)
  4. 13: Game Of Death (Director: Chookiat Sakveerakul)
  5. 300 (Director: Zack Snyder)
  6. 5up 2down (Directors: Steven Kessler)
  7. A Crime (Director: Manuel Pradal)
  8. A Guide To Recognizing Your Saints (Director: Dito Montiel)
  9. A New Wave (Director: Jason Carvey)
  10. A Scanner Darkly (Director: Richard Linklater)
  11. Abominable (Director: Ryan Schifrin)
  12. After The Wedding (Director: Susanne Bier)
  13. After... (Director: David L. Cunningham)
  14. All In (Director: Nick Vallelonga)
  15. All The Boys Love Mandy Lane (Director: Jonathan Levine)
  16. Alpha Dog (Director: Nick Cassavetes)
  17. Alpha Male (Director: Dan Wilde)
  18. Altered (Director: Eduardo Sánchez)
  19. An Existential Affair (Director: Peggy Bruen)
  20. Another Heist (Director: Sean Spoatcoat Brown)
  21. Apocalypto (Director: Mel Gibson)
  22. Art School Confidential (Director: Terry Zwigoff)
  23. Ask The Dust (Director: Robert Towne)
  24. Babel (Director: Alejandro González Iñárritu)
  25. Backlash (Director: David Chameides)
  26. Backwaters (Director: Jag Mundhra)
  27. Bas Ek Pal (Director: Onir)
  28. Basic Instinct II (Director: Michael Caton-Jones)
  29. Battle Of The Warriors (Director: Chi Leung 'Jacob' Cheung)
  30. Beer League (Director: Frank Sebastiano)
  31. Beerfest (Director: Jay Chandrasekhar)
  32. Behind The Mask: The Rise Of Leslie Vernon (Director: Scott Glosserman)
  33. Beyond The Wall Of Sleep (Directors: Barrett J. Leigh + Thom Maurer)
  34. Big Bad Wolf (Director: Lance W. Dreesen)
  35. Big Nothing (Director: Jean-Baptiste Andrea)
  36. Black Book (Director: Paul Verhoeven)
  37. Black Christmas (Director: Glen Morgan)
  38. Black Snake Moan (Director: Craig Brewer)
  39. Blood Diamond (Director: Edward Zwick)
  40. Blood Trails (Director: Robert Krause)
  41. Bobby (Director: Emilio Estevez)
  42. Bon Cop Bad Cop (Director: Erik Canuel)
  43. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Director: Larry Charles)
  44. Bordertown (Director: Gregory Nava)
  45. Breaking + Entering (Director: Anthony Minghella)
  46. Broken (Director: Alan White)
  47. Broken (Directors: Simon Boyes + Adam Mason)
  48. Brutal (Director: Filip Chalatsis)
  49. Bug (Director: William Friedkin)
  50. Bullets, Blood + A Fistful Of Ca$h (Director: Sam Akina)
  51. Caffeine (Director: John Cosgrove)
  52. Candy (Director: Neil Armfield)
  53. Candy Stripers (Director: Kate Robbins)
  54. Canes (Director: Michael Bafaro)
  55. Cargo (Director: Clive Gordon)
  56. Cashback (Director: Sean Ellis)
  57. Cattle Call (Director: Martin Guigui)
  58. Children Of Men (Director: Alfonso Cuarón)
  59. Chores (Director: Sonnie Hamner)
  60. Chronicle Of An Escape (Director: Israel Adrián Caetano)
  61. Civic Duty (Director: Jeff Renfroe)
  62. Clerks II (Director: Kevin Smith)
  63. Cloud 9 (Director: Harry Basil)
  64. Colma: The Musical (Director: Richard Wong)
  65. Come Early Morning (Director: Joey Lauren Adams)
  66. Confetti (Director: Debbie Isitt)
  67. Costa Chica: Confession OF An Exorcist)
  68. Crank (Directors: Mark Neveldine + Brian Taylor)
  69. Cravings (Director: D.J. Evans)
  70. Crazy Eights (Director: Jimi Jones)
  71. Crooked (Director: Art Camacho)
  72. Curse Of The Golden Flower (Director: Yimou Zhang)
  73. Cut Sleeve Boys (Director: Ray Teung)
  74. Dangerous Flowers (Director: Poj Arnon)
  75. Danika (Director: Ariel Vromen)
  76. Danny Roane: First Time Director (Director: Andy Dick)
  77. Dark Heart (Director: Kevin Lewis)
  78. Dark Ride (Director: Craig Singer)
  79. Day Watch (Director: Timur Bekmambetov)
  80. Day Of Wrath (Games Of Swords) (Director: Adrien Rudomin)
  81. Days Of Glory (Director: Rachid Bouchareb)
  82. Dead Calling (Director: Mike Nichols)
  83. Dead In 3 Days (Director: Andreas Prochaska)
  84. Deadly Lessons (Director: Stuart Paul)
  85. Death Ride (Director: Junichi Suzuki)
  86. Death Of A President (Director: Gabriel Range)
  87. Descansos (Director: J. Michael Kipikash)
  88. Detroit (Director: Brian Lawrence)
  89. Diary (Director: Oxide Chun Pang)
  90. Diggers (Director: Katherine Dieckmann)
  91. Dirty Work (Director: Bruce Terris)
  92. Disorder (Director: Jack Thomas Smith)
  93. Displaced (Director: Martin Holland)
  94. Dominion (Director: Larry Anderson, Greg Myers, David Neilsen + Lia Scott Price)
  95. Dominos: The Games We Play (Director: Nahala Johnson)
  96. Dracula’s Curse (Director: Leight Scott)
  97. Dreamland (Director: Jason Matzner)
  98. Driftwood (Director: Tim Sullivan)
  99. Efectos secundarios (Director: Issa López)
  100. El Cortez (Director: Stephen Purvis)
  101. El cantante (Director: Leon Ichaso)
  102. Electric Apricot (Director: Les Claypool)
  103. End Game (Director: Andy Cheng)
  104. Even Money (Director: Mark Rydell)
  105. Everything’s Gone Green (Director: Paul Fox)
  106. Exiled (Director: Johnnie To)
  107. Factory Girl (Director: George Hickenlooper)
  108. Fade To Black (Director: Oliver Parker)
  109. False Prophets (Director: Robert Kevin Townsend)
  110. Farce Of The Penguins (Director: Bob Saget)
  111. Fast Food Nation (Director: Richard Linklater)
  112. Fat Girls (Director: Ash Christian)
  113. Fatwa (Director: John Carter)
  114. Fay Grim (Director: Hal Hartley)
  115. Fido (Director: Andrew Currie)
  116. Final Contract: Death On Delivery (Director: Axel Sand)
  117. Final Destination III (Director: James Wong)
  118. Final move (Director: Joey Travolta)
  119. Find Me Guilty (Director: Sidney Lumet)
  120. Fingerprints (Director: Harry Basil)
  121. First Snow (Director: Mark Fergus)
  122. Five Fingers (Director: Laurence Malkin)
  123. Flags Of Our Fathers (Director: Clint Eastwood)
  124. Flannel Pajamas (Director: Jeff Lipsky)
  125. For Sale By Owner (Director: Pritesh Chheda)
  126. Forgiving The Franklins (Director: Jay Floyd)
  127. Freedomland (Director: Joe Roth)
  128. Friends With Money (Director: Nicole Holofcener)
  129. Fuera del cielo (Director: Javier “Fox” Patrón)
  130. Full Clip (Director: Mink)
  131. Funny Money (Director: Leslie Greif)
  132. Fur: An Imaginary Portrait of Diane Arbus (Director: Steven Shainberg)
  133. G.I. Jesus (Director: Carl Colpaert)
  134. Gente Comun (Director: Ignacio Rinza)
  135. Gone (Director: Ringan Ledwidge)
  136. Goya’s Ghosts (Director: Milos Forman)
  137. Grad Night (Director: Michael T. Fitzgerald, Jr.)
  138. Grandma’s Boy (Director: Nicholaus Goossen)
  139. Greed (Director Ron Wolotzky)
  140. Grilled (Director: Jason Ensler)
  141. Grimm Love (Director: Martin Weisz)
  142. Gringo Wedding (Director: Tas Salini)
  143. Guilty Hearts (Directors: George Augusto, Savina Dellicour, Phil Dornfeld, Ravi Kumar, Benjamin Ross, Paul Black + Krystoff Przykucki)
  144. Half Light (Director: Craig Rosenberg)
  145. Half Nelson (Director: Ryan Fleck)
  146. Hatchet (Director: Adam Green)
  147. High Hopes (Director: Joe Eckardt)
  148. Holla (Director: H.M. Coakley)
  149. Holly (Director: Guy Moshe)
  150. Hollywood Dreams (Director: Henry Jaglom)
  151. Hollywoodland (Director: Allen Coulter)
  152. Home Of The Brave (Director: Irwin Winkler)
  153. Homie Spumoni (Director: Mike Cerrone)
  154. Honor (Director: David Worth)
  155. Hood Of Horror (Director: Stacy Tile)
  156. Hot Tamale (Director: Michael Damian)
  157. How To Go Out On A Date In Queens (Director: Michelle Danner)
  158. I Love Miami (Director: Alejandro González Padilla)
  159. I Served The King Of England (Director: Jiri Menzel)
  160. I Want Someone To Eat Cheese With (Director: Jeff Garlin)
  161. Idiocracy (Director: Mike Judge)
  162. Idlewild (Director: Bryan Barber)
  163. In Her Line Of Fire (Director: Brian Trenchard-Smith)
  164. In A Dark Place (Director: Donato Rotunno)
  165. In ascolto (Director: Giacomo Martelli)
  166. Incubus (Director: Anya Camilleri)
  167. Infamous (Director: Douglas McGrath)
  168. Inland Empire (Director: David Lynch)
  169. Inside Man (Director: Spike Lee)
  170. Ira + Abby (Director: Robert Cary)
  171. Irresistible (Director: Ann Turner)
  172. Islander (Director: Ian McCrudden)
  173. Jimmy + Judy (Director: Randall Rubin + Jonathan Schroder)
  174. Jindabyne (Director: Ray Lawrence)
  175. Johnny Was (Director: Mark Hammond)
  176. Joshua (Director: Travis Betz)
  177. Journey From The Fall (Director: Ham Tran)
  178. Journey To The End Of The Night (Director: Eric Eason)
  179. KM31: Kilometre 31 (Director: Rigoberto Castañeda)
  180. Kabhi Alvida Naa Kehna (Director: Karan Johar)
  181. Karla (Director: Joel Bender)
  182. Kettle Of Fish (Director: Claudia Myers)
  183. Kidulthood (Director: Menhaj Huda)
  184. Kill Your Darlings (Director: Björne Larson)
  185. Killing Down (Director: Blake Calhoun)
  186. Kiss Me Again (Director: William Tyler Smith)
  187. Kisses + Caroms (Director: Vincent Rocca)
  188. Lady Chatterley (Director: Pascale Ferran)
  189. Land Of The Blind (Director: Robert Edwards)
  190. Last Sunset (Director: Michael Valverde)
  191. Legit (Director: James W. Boinski)
  192. Lenexa, 1 Mile (Director: Jason Wiles)
  193. Let’s Go To Prison (Director: Bob Odenkirk)
  194. Letters From Iwo Jima (Director: Clint Eastwood)
  195. Lies + Alibis (Directors: Matt Checkowski + Kurt Mattila)
  196. Like Minds (Director: Gregory Read)
  197. Lime Salted Love (Directors: Danielle Agnello + Joe Hall)
  198. Little Chenier (Director: Bethany Ashton Wolf)
  199. Little Children (Director: Todd Field)
  200. Little Miss Sunshine (Director: Jonathan Dayton + Valerie Faris)
  201. Live Feed (Director: Ryan Nicholson)
  202. Live Free Or Die (Directors: Gregg Kavet + Andy Robin)
  203. Local Color (Director: George Gallo)
  204. London To Brighton (Director: Paul Andrew Williams)
  205. Lonely Hearts (Director: Todd Robinson)
  206. Look @ Me (Director: Todd Wade)
  207. Los Gringos (Director: Daniel Zubiate)
  208. Los pajarracos (Directors: Hector Hernandez + Horacio Rivera)
  209. Lost Signal (Director: Brian McNamara)
  210. Love Comes To The Executioner (Director: Kyle Bergersen)
  211. Love Is The Drug (Director: Elliott Lester)
  212. Love + Other Disasters (Director: Alek Keshishian)
  213. Lucky Number Slevin (Director: Paul McGuigan)
  214. Man About Town (Director: Mike Binder)
  215. Maple Palm (Director: Ralph Torjan)
  216. Memory (Director: Bennett Davlin)
  217. Mentor (Director: David Langlitz)
  218. Mercury Man (Director: Bhandit Thongdee)
  219. Miami Vice (Director: Michael Mann)
  220. Mini’s First Time (Director: Nick Guthe)
  221. Minotaur (Director: Jonathan English)
  222. Moscow Zero (Director: María Lidón)
  223. Mr. Fix It (Director: Darin Ferriola)
  224. Mr. Hell (Director: Rob McKinnon)
  225. Mulberry St. (Director: Jim Mickle)
  226. Nailed (Director: Adreian O’Connell)
  227. Never On A Sunday (Director: Daniel Gruener)
  228. Night Feeders (Director: Jet Eller)
  229. Night Of The Living Dead in 3-D (Director: Jeff Broadstreet)
  230. Nightmare Man (Director: Rolfe Kanefsky)
  231. No Regret (Director: Hee-il Leesong)
  232. Notes On A Scandal (Director: Richard Eyre)
  233. Novel Romance (Director: Emily Skopov)
  234. O Jerusalem (Director: Élie Chouraqui)
  235. Off The Black (Director: James Ponsoldt)
  236. Only The Brave (Director: Lane Nishikawa)
  237. Open Water II: Adrift (Director: Hans Horn)
  238. Open Window (Director: Mia Goldman)
  239. Ouija (Director: Khaled Youssef)
  240. Pan’s Labyrinth (Director: Guillermo del Toro)
  241. Paprika (Director: Satoshi Kon)
  242. Paris, je t'aime (Directors: Olivier Assayas, Frédéric Auburtin, Emmanuel Benbihy, Gurinder Chadha, Sylvain Chomet, Joel Coen, Isabel Coixet, Wes Craven, Alfonso Cuarón, Gérard Depardieu, Christopher Doyle, Richard LaGravenese, Vincenzo Natali, Alexander Payne, Bruno Podalydès, Walter Salles, Oliver Schmitz, Nobuhiro Suwa, Daniela Thomas, Tom Tykwer + Gus Van Sant)
  243. Park (Director: Kurt Voelker)
  244. Penny Dreadful (Director: Richard Brandes)
  245. Perfect Creature (Director: Glenn Standring)
  246. Perfume: The Story Of A Murderer (Director: Tom Tykwer)
  247. Plasterhead (Director: Kevin Higgins)
  248. Played (Director: Sean Stanek)
  249. Pledge This! (Directors: William Heins + Strathford Hamilton)
  250. Premium (Director: Pete Chatmon)
  251. Pretty Cool (Director: Rolfe Kanefsky)
  252. Psychopathia Sexualis (Director: Bret Wood)
  253. Pu-239 (Director: Scott Z. Burns)
  254. Pucked (National Lampoon’s) (Director: Arthur Hiller)
  255. Puff, Puff, Pass (Director: Mekhi Phifer)
  256. Push (Director: Dave Rodriguez)
  257. Quinceañera (Directors: Richard Glatzer + Wash Westmoreland)
  258. Rainbow Raani (Director: Harbance Kumar)
  259. Raising Jeffrey Dahmer (Director: Rich Ambler)
  260. Rampage: The Hillside Strangler Murders (Director: Chris Fisher)
  261. Re-cycle (Director: Danny Pang + Oxide Chun Pang)
  262. Read On (Director: Jeff Faulkinbury)
  263. Renaissance (Director: Christian Volckman)
  264. Reprise (Director: Joachim Trier)
  265. Right At Your Door (Director: Chris Gorak)
  266. Rocker (Director: Lauren Patrice Nadler)
  267. Running Scared (Director: Wayne Kramer)
  268. Running With Scissors (Director: Ryan Murphy)
  269. S&Man (Director: J.T. Petty)
  270. Sakebi (Director: Kiyoshi Kurosawa)
  271. Sam’s Lake (Director: Andrew C. Erin)
  272. Sasquatch Mountain (Director: Steven R. Monroe)
  273. Satanic (Director: Dan Golden)
  274. Saw III (Director: Darren Lynn Bousman)
  275. Scenes Of A Sexual Nature (Director: Ed Blum)
  276. Scorpius Gigantus (Director: Tommy Withrow)
  277. Séance (Director: Mark L. Smith)
  278. Section 8 (Director: Carl Gilliard)
  279. See No Evil (Director: Gregory Dark)
  280. Seraphim Falls (Director: David Von Ancken)
  281. Serum (Director: Steve Franke)
  282. Severance (Director: Christopher Smith)
  283. Shadow: Dead Riot (Director: Derek Wan)
  284. Sherrybaby (Director: Laurie Collyer)
  285. Shock To The System (Director: Ron Oliver)
  286. Silent Hill (Director: Christophe Gans)
  287. Simon Says (Director: William Dear)
  288. Sisters (Director: Douglas Buck)
  289. Skinwalkers (Director: James Isaac)
  290. Sleeping Dogs Lie (Director: Bob Goldthwait)
  291. Slither (Director: James Gunn)
  292. Smashes, Bashes + Crashes (Director: Drew Stone)
  293. Smokin’ Aces (Director: Joe Carnahan)
  294. Snakes On A Plane (Director: David R. Ellis)
  295. Soul’s Midnight (Director: Harry Basil)
  296. Southern Justice (Director: M.D. Selig)
  297. Southland Tales (Director: Richard Kelly)
  298. Special (Directors: Hal Haberman + Jeremy Passmore)
  299. Splinter (Director: Michael D. Olmos)
  300. State’s Evidence (Director: Benjamin Louis)
  301. Steel City (Director: Brian Jun)
  302. Stephanie Daley (Director: Hilary Brougher)
  303. Stormforce (Director: Hans Herbots)
  304. Striking Range (Director: Daniel Millican)
  305. Subject Two (Director: Philip Chidel)
  306. Suburban Mayhem (Director: Paul Goldman)
  307. Summer Love (Director: Piotr Uklanski)
  308. Surf School (Director: Joel Silverman)
  309. Surveillance (Director: Fritz Kiersch)
  310. Sweet Insanity (Director: Daniel Hess)
  311. TV: The Movie (National Lampoon’s) (Director: Sam Maccarone)
  312. Tekkonkinkreet (Director: Michael Arias)
  313. Ten ‘til Noon (Director: Scott Storm)
  314. Tenacious D in “The Pick Of Destiny” (Director: Liam Lynch)
  315. That Beautiful Somewhere (Director: Robert Budreau)
  316. The 9/11 Commission Report (Director: Leigh Scott)
  317. The Abandoned (Director: Nacho Cerdà)
  318. The Architect (Director: Matt Tauber)
  319. The Astronaut Farmer (Director: Michael Polish)
  320. The Beach Party At The Threshold Of Hell (Directors: Jonny Gillette + Kevin Wheatley)
  321. The Black Dahlia (Director: Brian De Palma)
  322. The Bondage (Director: Eric Allen Bell)
  323. The Boys + Girls Guide To Getting Down (Director: Paul Sapiano)
  324. The Breed (Director: Nicholas Mastandrea)
  325. The Butcher (Director: Edward Gorsuch)
  326. The Butterfly Effect II (Director: John R. Leonetti)
  327. The Choke (Director: Juan Mas)
  328. The Clique (Director: David Basulto)
  329. The Contract (Director: Bruce Beresford)
  330. The DaVinci Treasure (Director: Peter Mervis)
  331. The Darwin (Director: Finn Taylor)
  332. The Dead Girl (Director: Karen Moncrieff)
  333. The Deepening (Directors: Ted Alderman + Jim O’Rear)
  334. The Departed (Director: Martin Scorsese)
  335. The Devil Wears Spurs (Director: Charlton Thorp)
  336. The Dog Problem (Director: Scott Caan)
  337. The Drop (Director: Kevin Lewis)
  338. The Elder Son (Director: Marius Balchunas)
  339. The Elephant King (Director: Seth Grossman)
  340. The Entrance (Director: Damon Vignale)
  341. The Fall (Director: Tarsem Singh)
  342. The Far Side Of Jericho (Director: Tim Hunter)
  343. The Foot Fist Way (Director: Jody Hill)
  344. The Girl On The Stone (Director: Marisa Sistach)
  345. The Good German (Director: Steven Soderbergh)
  346. The Good Shepherd (Director: Robert De Niro)
  347. The Good Student (Director: David Ostry)
  348. The Gravedancers (Director: Mike Mendez)
  349. The Groomsmen (Director: Edward Burns)
  350. The Hamiltons (Directors: Mitchell Altieri + Phil Flores)
  351. The Hard Easy (Director: Ari Ryan)
  352. The Heart Specialist (Director: Dennis Cooper)
  353. The Hills Have Eyes (Director: Alexandre Aja)
  354. The History Boys (Director: Nicholas Hytner)
  355. The Hoax (Director: Lasse Hallström)
  356. The Host (Director: Bong Joon Ho)
  357. The Hottest State (Director: Ethan Hawke)
  358. The House (Director: David Krae)
  359. The House Of Usher (Director: Hayley Cloake)
  360. The Hunt (Director: Fritz Kiersch)
  361. The Insurgents (Director: Scott Dacko)
  362. The Kovak Box (Director: Daniel Monzón)
  363. The Last Drop (Director: Colin Teague)
  364. The Last King Of Scotland (Director: Kevin Macdonald)
  365. The Last Kiss (Director: Tony Goldwyn)
  366. The Last Request (Director: John DeBellis)
  367. The Last Time (Director: Michael Caleo)
  368. The Lives Of Others (Director: Florian Henckel von Donnersmarck)
  369. The Marsh (Director: Jordan Barker)
  370. The Night Listener (Director: Patrick Stettner)
  371. The Night Of The White Pants (Director: Amy Talkington)
  372. The Oh In Ohio (Director: Billy Kent)
  373. The Omen (Director: John Moore)
  374. The Other Side (Director: Gregg Bishop)
  375. The Pumpkin Karver (Director: Robert Mann)
  376. The Science Of Sleep (Director: Michel Gondry)
  377. The Sensation Of Sight (Director: Aaron J. Wiederspaphn)
  378. The Shadow Walkers (Director: Mark Steven Grove)
  379. The Situation (Director: Philip Haas)
  380. The Slaughter (Director: Jay Lee)
  381. The Still Life (Director: Joel Miller)
  382. The Strange Case Of Dr. Jekyll + Mr. Hyde (Director: John Carl Buechler)
  383. The System Within (Director: Dale Resteghini)
  384. The TV Set (Director: Jake Kasdan)
  385. The Texas Chainsaw Massacre: The Beginning (Director: Jonathan Liebesman)
  386. The Tiger’s Tail (Director: John Boorman)
  387. The Tripper (Director: David Arquette)
  388. The Unknown Woman (Director: Giuseppe Tornatore)
  389. The Virgin Of Juarez (Director: Kevin James Dobson)
  390. The Wedding Weekend (Director: Bruce Leddy)
  391. The Witches Hammer (Director: James Eaves)
  392. The Woods (Director: Lucky McKee)
  393. The Zombie Diaries (Directors: Michael G. Bartlett + Kevin Gates)
  394. Them (Ils) (Directors: David Moreau + Xavier Palud)
  395. They’re Just My Friends (Director: Attika Torrence)
  396. Thieves + Liars (Director: Ricardo Méndez Matta)
  397. Things That Hang From Trees (Director: Ido Mizrahy)
  398. Things You Don’t Tell... (Director: Alex Melli)
  399. Tired Of Kissing Frogs (Director: Jorge Colón)
  400. Trailer Park Boys: The Movie (Director: Mike Clattenburg)
  401. Trapped Ashes (Directors: Sean S. Cunningham, Joe Dante, John Gaeta, Monte Hellman + Ken Russell)
  402. Troubled Waters (Director: John Stead)
  403. True True Lie (Director: Eric Styles)
  404. Turistas (Director: John Stockwell)
  405. Twisted Sisters (Director: Wolfgang Büld)
  406. Two Tickets To Paradise (Director: D.B. Sweeney)
  407. Two Weeks (Director: Steve Stockman)
  408. Ugly Me (Director: Claudio Dabed)
  409. Unconscious (Director: Bradley Wigor)
  410. Under Surveillance (Director: Dave Campfield)
  411. Underworld (Director: Len Wiseman)
  412. Undisputed II: Last Man Standing (Director: Isaac Florentine)
  413. Undoing (Director: Chris Can Lee)
  414. United (Director: Paul Greengrass)
  415. Unrest (Director: Jason Todd Ipson)
  416. Valentina’s Tango (Director: Rogelio Lobato)
  417. Vampire Diary (Directors: Mark James + Phil O’Shea)
  418. Van Wilder II: The Rise Of Taj (National Lampoon’s) (Director: Mort Nathan)
  419. Vengeance (Director: Gil Medina)
  420. Vengeance (Director: Pleo Sirisuwan)
  421. Venus (Director: Roger Michell)
  422. Volver (Director: Pedro Almodóvar)
  423. Voodoo Curse: The Giddeh (Director: Glenn Plummer)
  424. Wages Of Sin (Director: Aaron Robson)
  425. Waist Deep (Director Vondie Curtis-Hall)
  426. Walker Payne (Director: Matt Williams)
  427. Wango + Maloy (Director: Kristian Laslett)
  428. Wasted (Director: Matt Oates)
  429. Wedding Daze (Director: Michael Ian Black)
  430. Whirlygirl (Director: Jim Wilson)
  431. Who Made The Potatoe Salad? (Director: Coke Daniels)
  432. Wicked Little Things (Director: J.S. Cardone)
  433. Wild Seven (Director: James M. Hausler)
  434. Wilderness (Director: Michael J. Bassett)
  435. Wolfhound (Director: Nikolay Lebedev)
  436. World Trade Center (Director: Oliver Stone)
  437. Wristcutters A Love Story (Director: Goran Dukic)
  438. Yellow (Director: Alfredo Rodriguez de Villa)
NC-17
(none)
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[Table] IAmA: I am Kevin Pollak, new film director. AMA.

Verified? (This bot cannot verify AMAs just yet)
Date: 2015-04-14
Link to submission (Has self-text)
Questions Answers
You've been in a bunch of stuff I've loved, and of course your Bill Shatner impression is impeccable. My question is for your famed serious role in "A Few Good Men" And in the one scene where my character yells at Demi Moore's character, for offending the two kids who "picked on a weaker kid," I found it nearly impossible to yell at her sincerely, with genuine anger, because Demi - the person - offset had been so historically sweet and nurturing to me (and to everyone else) and I wasn't trained enough as an actor to be remove that from my thoughts. So Rob had to - after 7 or 8 takes - take me for a little walk, and it's the first and only time that's ever happened, where an director walked me off-set and said "What's the problem buddy?"
Is Reiner as great with his acotrs as others have put it? Were there any scenes were he got on your case for how you delivered your line (how it's supposed to be said)? And are there any funny anecdotes from that shoot that stand out in memory? Second of all, are you someone who's known for their taste...? Rob Reiner gave me the role of a lifetime. All the giant movie stars on that set treated me like an equal from second one, which they didn't have to (or they needn't have). I explained my difficulty. And he said "Yeah, okay. But the character you're playing REALLY can't stand her."
“MOM” is such a great sitcom. Were you sad to leave the show and were you aware from the beginning that your character would depart they way he did? And what was it like working with that cast? That was a great gig. Chuck Lorre proved once again he is a god of television sitcom, in that he can create life and take it away when the whim strikes him.
For me, it was a phenomenal experience, with a tremendous cast. Obviously, getting to work with Alison Janney and Anna Faris would be a dream come true for any squat-Jew-funny-fucker. But it ended at the perfect time. And a world of jobs, both directing and acting, opened up to me, that I otherwise would not have been available for.
What was it like filming Willow? It was fun being yelled at by Ron Howard every day, because Rick Overton and I (the other brownie) were on the world's largest blue screen stage at the time. They had pre-shot the film in Wales and New Zealand, and Rick and I, covered in face and body make-up paint and designs, with crazy wigs and costumes, were being yelled at Ricky Cunningham for 5 weeks.
A genius experience I will never forget.
Can you describe your experience working on Grumpy Old Men and Grumpier Old Men? Any fond memories of working with Jack Lemmon and Walter Matthau? Really looking forward to watching Misery Loves Comedy and enjoy your interviews. I spoke of Walter. I certainly have amazing fond memories of Jack Lemmon as well.
I remember in one scene, I was doing off-camera lines for his close-up, and he asked me if I minded, and I said "of course not."
And he said "Well, I just remember Marilyn never liked to do them."
And I thought Holy shit, he's talking about Marilyn Monroe.
He wasn't dropping names. Every story Walter and him had involved somebody ridonkulously famous.
Is there anyone you wanted to get for Misery but were unable to? Oh sure.
There are plenty. We only had 4 weeks to shoot. We were going to take whomever we could get. Whoever we could schedule. When we started shooting, we had 25 on-camera talent scheduled, which I was thrilled about. And as we were shooting, people kept saying "Yes," and by the end of the four weeks, we had over 60 people.
When did you first realise you were really good at impressions; was it something that you developed and had to practice, or were you just naturally good at it? In high school, I was mocking the football coach for my friends at lunch, when he came up behind me and got me into a headlock, and whispered in my ear I heard about it, and I don't think it's funny.
And as I was passing out, I thought "I could probably do famous people, and they would never find me!"
Have you ever been to Europe? and if so what's been for favourite place to visit? .. also hi :) I still consider my month-long drive through Italy twenty summers ago to be the trip of a lifetime.
Having said that, the world premiere of USUAL SUSPECTS at the Cannes Film Festival is the singular most exciting and impactful visit to Europe.
Can you fill us in on the best Rickles story? Yes.
Watching Don Rickles rip Robert De Niro a new asshole on the set of CASINO is still the single most favorite moment I've had on the set of any film I've ever done. I still laugh uncontrollably just thinking about it.
Who was the cut up of all the cast in Usual Suspects? You were so brilliant in that flick, btw. Tell me it was the best time ever! It was the best time ever.
Kevin Spacey and I teaching Gabriel Byrne how to do Johnny Carson was a favorite memory. And Stephen Baldwin showing up wearing leather pants on day one, having not arrive on a motorcycle or a horse... that was a favorite memory.
Do you have a certain time that you view as a golden age of standup? Do you have any non-comedy influences that shaped your style/career? Salvador Dali.
And I thought the early 80's was a golden age, but maybe some of the people working today - like Jim Gaffigan, Amy Schumer, and Dana Gould - and many others make me laugh harder than I ever have.
I thought your work in Avalon was fantastic and you've consistently turned in wonderful performances in both comedy and drama. Have you ever been intimidated by a role you've played by or a fellow actor you've worked with? I'm constantly intimidated. Because I'm a comedian, first and foremost, with no formal acting training, and on every film for the last 25 years, during the first week of production, I wait for someone to tap me on the shoulder and say "Oh! We've made a horrible error."
Hi Kevin... Big fan of the podcast. Are you working on any new impressions that we might not have heard? Also, any impressions that you just can't do? There's always impressions that you just can't do. My newest one can be heard on the sixth anniversary podcast, from Largo at the Coronet, I think it's #233, with Dana Carvey and Will Forte. I do Liam Neeson.
Hey Kevin, great to see you on here. You're a very versatile actor. Is there a role or project that you'd like to try that you haven't been able to yet? This film I'm about to direct in June is an opportunity of a lifetime. That is to say, I feel I've been preparing for it for 30 years. And also dreading the moment when the world finds out I'm horrible at it.
In THE USUAL SUSPECTS, what effect, if any, did it have on how you played your scenes knowing who Kaiser Soze really was? We all just had to make damn sure we never got caught making a face or an expression that suggested we knew. Which, for me, is all I ever wanna do - which is to not be caught acting.
If I send you some money for you to buy beer will you tell me the Usual Suspects story??? You don't have to send me the money to buy beer.
You just have to find me in person, and I'll tell you the damn story.
I can't do it here.
Sounds libelous and therefore must be good. Speaking of the Usual Suspects, I heard that the line-up scene was actually the best outtake and that David Fincher couldn't get you guys to stop laughing and goofing around. It worked out very well but is that true? Not David Fincher, but Bryan Singer. That is a true story. The now-famous police lineup scene is actually a series of outtakes that Bryan brilliantly turned into arguably the most memorable scene, after a day of shooting where we basically gave him nothing he could use, because we were in fact being idiots and assholes and couldn't stop making me each other laugh and fart.
Don't forget the fart part, man!
Hi Kevin. My friends and I had a great time in Phoenix for the live KPCS with Matthew Perry. You can remake any film, what would it be and what role would you play? I'm not in favor of remaking any film as a film lover.
If I had to, you know, like with a loaded gun shoved up my ass... and now I don't really have an answer to my stupid set up.
Just write that.
Kevin, let’s talk ARNOLD…what were your best memories woking with Schwarzenegger? Did you smoke any stogies with him or pump up in the gym together? What’s your best and worst Arnold story on End of Days? I did smoke stogies with Arnold.
But I loved to walk by - he had a trailer on-set that was just filled with workout equipment, and I would walk by with a big plate of cake, and laugh in his face.
Any plans to have Conan O'Brien on your chat show? Any plans to beat him up for stealing your idea for his "Serious Jibber-Jabber"? I would kill to have Conan on the show.
And considering I ripped off Charlie Rose - I certainly can't have a problem with what Conan is doing. He's brilliant.
Has anyone ever asked you "Hey, aren't you one of the little guys from Willow? The really little ones?" Real question, it looks like Misery Loves Comedy is sort of your baby, having the writing and directing credit. What would you say was the most unexpected thing you encountered when making your own documentary? The most unexpected thing that should've been more obvious is that I would end up with over 60 hours of material. And the instant need to learn how to edit by myself to turn said 60 hours of footage into a 94 minute film without a script, or a narrative.
Assuming that we live in a world that has walls, and that those walls have to be guarded by men with guns... would Lieutenant Weinberg do it? I'd like to think, if Weinberg was called to arms, he would rise to the occasion.
If I take the character from the literal creation, I also have to assume he chose to be an attorney for a reason.
What item from the Lost Room would you choose to have if having it in real life was an option? Oh gosh. Great question.
Wish I wasn't so fucking old and could remember all of the wonderful possibilities therein.
Could you remind me of some?
Last updated: 2015-04-18 19:51 UTC
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casino robert de niro true story video

Directed by Martin Scorsese. With Robert De Niro, Sharon Stone, Joe Pesci, James Woods. A tale of greed, deception, money, power, and murder occur between two best friends: a mafia enforcer and a casino executive compete against each other over a gambling empire, and over a fast-living and fast-loving socialite. While the movie begins by stating it is adapted from a true story, it never names the real-life casino involved. The "Tangiers" casino is fictional. The story is based upon the history of the Stardust casino, a fact well documented in the Las Vegas history books. ... (Robert De Niro) juggling on his television show. Rosenthal maintained that he ... The casino is a classic movie released in the year 1995. It’s an epic gangster flick about money, power, greed and murder. The movie directed by Martin Scorsese and written by Nicholas Pileggi, features Robert De Niro (Sam ‘Ace’ Rothstein), Joe Pesci (Nicky Santoro), Sharon Stone (Ginger McKenna), and James Woods (Lester Diamond) as the main cast. The True Story Behind ‘Casino’ ... Frank “Lefty” Rosenthal, represented in Casino as Robert De Niro’s Sam “Ace” Rothstein, was a gambling mastermind. Numbers, odds, and betting lines ... The movie Casino was a 1995 release directed by Martin Scorsese. It starred Robert De Niro, Joe Pesci and Sharon Stone. The plot was inspired by the real-life story of Frank “Lefty” Rosenthal ... The Real Life Story Behind the Movie Casino. By Film Threat Staff November 28, 2018. The famous hit movie Casino was released in the year 1995. It was directed by the prestigious Martin Scorsese and it starred Joe Pesci, Robert De Niro and Sharon Stone. The plot was actually inspired by a real-life person, known as Frank Rosenthal. The movie Casino remains one of the most successful films in American history. It’s based on Nicholas Pileggi’s book ‘Casino: Love and Honor in Las Vegas’ and follows the story of Sam “Ace” Rothstein (Robert De Niro), an American Jewish gangster who is sent to Las Vegas to oversee the Tangiers Casino and increase its profits. Watch the Casino movie trailer for the film starring Robert De Niro, Joe Pesci and Sharon Stone. Directed by Martin Scorcese, Casino tells the story of sports handicapper Frank 'Lefty' Rosenthal in mob-run Las Vegas during the 1970's. Every casino regular has probably seen the classic Casino movie starring Robert De Niro and Sharon Stone. However, only true fans of both casinos and cinema know the following facts about the movie and its production. Not surprisingly the movie is based on a true story that took place in Las Vegas, the capital of American gambling. Robert De Niro put on the face of Frank “the Kefty” Rosenhault. Joe Pesci played Anthony Spilotro AKA “The Ant”. Sharon Stone pictured the famous fame fatale Geraldine McGee. That part is OK for now and resembles the truth of the events with exquisite accuracy. But what about the rest of the story?

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